"The criminal exploits of Boston’s most notorious psychopath, fugitive gangster James "Whitey" Bulger, have been well chronicled. Now Timothy M. Burke exposes another sadistic figure who prowled Boston’s streets for unsuspecting victims back when Whitey was still the man: Leonard "The Quahog" Paradiso. . . . In a suspenseful account offered by the former prosecutor who sent Paradiso to prison for the 1979 slaying of Marie Ianuzzi, Burke builds a convincing case that the Revere fish peddler was a cunning sexual predator who got away with many more slayings. . . Burke tells a compelling story, with chilling accounts of Paradiso’s crimes gleaned from victims’ accounts and evidence that never made it to court. . . The story transcends Boston with an insider’s view of the criminal justice system. . . It’s a good read. And Burke, who led the State Police investigation into Bulger during the 1980s, even manages to slip in a few observations about him" — Boston Globe
"Burke’s colorful and creepy debut takes a Grisham-esque ride through both the legal system and the mind of a killer.
[Burke] believes Lenny "The Quahog" Paradiso was responsible for seven or more killings and nearly as many rapes, including that of Joan Webster, whose 1981 disappearance from Boston’s Logan airport dominated the headlines. With the single-minded fury of a true believer in the legal system, Burke has done everything within his power to prove that Paradiso is a genuine serial killer. Add in some cops out of a Dennis Lehane story, some lawyers out of a Richard North Patterson novel and an oddball assortment of witnesses and jurors, and you’ve got a gripping story. Unlike many true-crime books that claim to read like a novel, this book actually does feel like fiction, primarily because it more or less adheres to a three-act structure and is loaded with vibrant, cinematic dialogue. Burke also does a solid job with characterizations. His portrayal of Paradiso is properly frightening, and most of the secondary players are well fleshed out….
This deserves mention alongside Vincent Bugliosi’s Helter Skelter (1974) and Robert Graysmith’s Zodiac (1986) as a stellar exploration of the soul of a mass murderer."
— Kirkus Reviews